A Quote by Vincent Piazza
I find historical figures in general very tricky because you feel at times that you're serving two masters. Not only the arc and wonderful writing that comes with the show, but also the history of a person's life.
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I feel very strongly that where the facts exist, a historical novelist should use them if they're writing about a person who really lived, because a lot of people come to history through historical novels. I did. And a lot of people want their history that way.
Political history is not the only way to approach historical figures.
'Breaking Bad' - when I started watching that show, I thought it was terrific. I love the way it was shot. I love the writing. I love the arc of Bryan Cranston's character. I just thought that was just really, really a wonderful, wonderful show.
Mitterrand had a sense for symbols, and he was the first Socialist president since 1958. He wanted to show that there is historical continuity, a connection with the great figures of French history.
I've learned that life is very tricky business: Each person needs to find what they want to do in life and not be dissuaded when people question them.
Basically, editing is done in rehearsal and in the writing process and in the acting, so it's very, very tricky, very, very tricky.
Men are in general so tricky, so envious, and so cruel that when we find one who is only weak, we are too happy.
If you're writing something that's clearly labelled as an alternative history, of course it's perfectly legitimate to play with known historical characters and events, but less so when you're writing an essentially straight historical fiction.
New York is a very tricky city. I find it very noisy. It's a jungle, and it's very stressful at times, but I'm ready for it.
I think a lot of my interest in history now isn't so much in places and names and texts and public figures, but more in examining all the nuances and idiosyncrasies of particular stories of everyday people. And if that doesn't happen, then I usually transplant myself and my own stories to a particular historical event. Which is why you'll see me, the first person pronoun, interacting in a song about Carl Sandburg, or you'll find my [sic] interacting with Saul Bellow. It's sort of a re-rendering of history and making it my own.
I resolved to dedicate all my life to God, all my thoughts, and words, and actions; being thoroughly convinced, there was no medium; but that every part of my life (not some only) must either be a sacrifice to God, or myself, that is, in effect, to the devil. Can any serious person doubt of this, or find a medium between serving God and serving the devil?
That really was a lot of the appeal of 'Rumours.' The music was wonderful, but the music was also authentic because it was two couples breaking up and writing dialogue to each other. It was also appealing because we were rising to the occasion to follow our destiny.
My writing process is very organic. I start with an idea. I have the general story arc and the cast. But then I sit down to write, and things change.
With 'Journey,' we created an emotional arc for two different scenarios. So, if you play alone, it's a good game. You have what we think is a complete emotional arc. You will feel, I guess, a sense of transformation in the single-player. Because it's a hero's journey.
I've always been drawn to writing historical characters. The best stories are the ones you find in history.
In cooking I found my mentor in this great chef, Albert Roux. I think this is a very important thing in life, to find someone who can steer you because to find it all by yourself is quite a difficult and slow process. That's not to say you won't ever get there, but to find a great coach, a great mentor, someone to show you the way and to open a few windows and doors, is a wonderful thing in life.
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